For the last few months I’ve been teaching dance to a couple who are about to be married. Tonight was our final lesson before their big day. Y’all, I honestly couldn’t be prouder. These two have come a long way. Granted, they still bump into each others’ feet now and then, but they keep going, and that’s the point. What’s more, they’ve put in enough time and effort to be able to concentrate on one of the finer aspects of dancing–not just properly executing the steps and patterns, but also interpreting the steps and patterns in such a way as to match their particular song.

I’ll explain.

When learning to dance, the priorities are, in order of importance, 1) getting the steps right, 2) being on beat, 3) communicating with your partner (with your body, not your mouth), and 4) proper technique. Under the category of proper technique are things like whether the heel or ball of your foot hits the ground first, whether or not your hips are moving, and which direction your head is looking. These are often subtle things, of course, but they’re not only what distinguishes one dance from another (for example, a box step can be done in both waltz and rumba, but in waltz the forward step is with the heel, and in rumba it’s with the ball–plus, the rhythm is different, but I digress), but also what distinguishes the more experienced dancer from the amateur. That is, the more experienced dancer has good technique; the amateur has poor technique.

What my wedding couple and I discussed tonight was that both interwoven in and beyond these four categories is something called musicality. As I think of it, musicality is about not only being on beat, but also about being on THIS SONG’S beat and not THAT SONG’s beat. What I mean is that you can dance east coast swing–the same steps, the same patterns–to Van Morrison’s “Moondance” and Jerry Lee Lewis’s “Great Balls of Fire,” but if someone were watching you dance on video and turned off the sound, the two dances should look distinctly different because each song has a different MOOD.

Along these lines, musicality is first about matching the ATTITUDE of a song. Keeping to my previous example, since “Moondance” is soft and laid-back, your dancing should be easy going–not frantic–if you’re dancing to it. Since “Great Balls of Fire” is upbeat and wild, your dancing should be energized and punchy if you’re dancing to it. If you don’t match the attitude of a song, something will inevitably feel and look “off.” Taking this idea a step further, something will inevitable feel and look “off” if you don’t match or at least compliment the nuances within a song. For example, often a song will have what’s called a “break,” usually 8 counts of music where some if not all of the instruments drop out but the lyrics continue. Well, musicality dictates that when the music stops, so should you. At the very least, you should stop what you’ve been doing and do something different. I think of this as ACKNOWLEDGING THE BREAK. Is it fine to IGNORE THE BREAK? Sort of. Your dance will still work. But will it work as well, will it be as magical as it could be?

No.

This is what my couple and I dove into tonight, the idea that because their song has an ATTITUDE of tenderness, everything they do should be soft and gentle. Like, don’t make any sudden moves. Next we discussed the idea that just as their song (like any song) has sections that are more or less emphasized (read: energized), their dancing should likewise be more or less energized during those sections. More power, less power. “Step on the gas here,” I told them. “Chill out here. Pause. Take a breath before you go anywhere.” Y’all, you should have seen the results. By simply MATCHING their ATTITUDES and MOVEMENTS to those implied within their specific song, my couple went from having a “nice” dance to a “lovely” dance.

A magical dance.

This afternoon I saw my therapist, and we discussed this idea of TIMING. It came up because I told her I had several projects on the back burner and would like to talk about which one might be best to tackle next. “We can do that,” she said, “but I’m thinking just chill out until the end of year.” This is something she’s been suggesting for a while now and something I’ve blogged about a number of times–slowing down, resting. And whereas I’ve agreed with these concepts in theory, the largest part of me has continued to be attached to the idea of go, go, going. But working with this couple of mine has really driven home for me the importance of the pause. Whether in dancing or life, the pause is absolutely necessary. Not only does it give you time to breathe, it also adds emphasis, mystery, suspense.

It’s why these one-sentence paragraphs work so well.

Crap. Did I just give away a secret?

More and more I realize that just as each song has it’s own attitude and nuances, so does each season and so does each life. What’s more, we’re best served when we can TUNE IN TO and MATCH both nature’s rhythms and our own. For example, this summer I couldn’t find it within me to start a diet. The sun was up all day, and I was too busy, too frantic. But now that fall is here and even the sun is resting, I’ve found it easier to slow down and focus on taking better care of myself. Along these lines, I’m getting more and more okay with the idea that this period in my life is about chilling out and not go, go, going. It’s about learning. It’s about transforming. I told my therapist today, “It doesn’t feel like I should step on the gas right now.” It doesn’t feel like I should fill every minute with an activity, every blank space with more than it was meant to handle.

So I’m not.